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AN ENCYCLOPADIA 
IRONWORK 


EXAMPLES OF HAND WROUGHT IRONWORK 
FROM THE MIDDLE AGES TO THE END 
OF THE 18TH CENTURY 
WITH AN HISTORICAL INTRODUCTION 
BY OTTO HOEVER 


MCMKXVII 
E. WEYHE, 794 LEXINGTON AVE. NEW YORK 


PRINTED IN GERMANY 


IN 1927 


) 


f 


LISHED 


FIRST PUB 


. 


CONTENTS 


INTRODUCTION: 
ORNAMENTAL IRONWORK 
Page IX 


GOLHFC 
Page XIII 


LARWEG OL IC 
AND RENAISSANCE 
Page XIX 


BAROQUE 
AND CLASSICISM 
Page XXVI 


THE PLATES 
1-320 


«(lt 


INTRODUCTION 


er or Sa 


Ornamental Ironwork 


Although the most conspicuous productions of smithcraft are rarely the outcome 
of the ironworkers’ own designs, nevertheless, ironwork translates into material 
many artistic conceptions, and reflects the art of various stylezepochs, and countries. 

It is a wellzknown fact that the iron bar is the base of all lineal ornamental 
ironwork, however manifold the various patterns may be. A number of bars can be 
arranged to make a trellis, or they may be made to serve as bindings and hinges, 
etc. The trellis, using the term in its widest sense, was the main object of technical 
and artistic treatment by the masters of smithcraft. The iron bars, fixed by 
rivets to the doors to protect them, constitute a complete latticeswork. We may 
say that the use of one of the three main classes of bars: flat, round, and square 
is a characteristic feature of a particular style. Thus, Early Gothic favoured either 
narrow or broad iron bands, and Late Gothic, in the north, the round bar. 
In the south; above all in Italy, the Renaissance introduces the square bar, 
which was also preferred by Rococo smiths, particularly by the French. It was 
during these periods that smithwork attained to its highest perfection. 

Ironwork of all kinds follows the forms of the different styles, but the 
transition from one style to another is slower than with other arts, and the 
highly imaginative lines of Late Gothic lasted well into the Renaissance, espe- 
cially in Germany. 

Some students have maintained that there are two different phases in the 
development of smithcraft, one of a more decorative character, the other archi- 
tectural or tectonic. And this seems to be a correct view. But this division is 
equally applicable to any branch of arts and crafts. These two phases are as 
old as ornamental art itself. The decorative aims at enriching a surface, the 
tectonic limits itself to the outline or spacing of surface. The former is more 
dynamic and vivid, the latter more static, and gives the impression of weight 
and solidity. Both are best represented in their diverse characters by Late Gothic 
in the north, and by Renaissance in the south. Baroque and Rococo seem to 
unite both phases. The vertical bars of gates, for instance, represent the static 
and tectonic elements, whereas the frame-work, particularly the crest with its 
interlacing scrolls, stands for the dynamic. The different artistic conceptions 
obtaining in various countries have ample scope for expression in the treatment 
of the frame-work. The vivid forms of the north preponderate in Late Gothic, 
Late Baroque, and Rococo, in contradistinction to the static tectonic forms of 
Italian and French classical art. In the latter periods the vertical and horizontal 
bars are enclosed in a frame displaying a wealth of scroll, and other ornamental 
work. In former periods the frame was the element of stability which enclosed 
the richly ornamented panel in rectangular lines. Later on the reverse is the case. 


IX 


The panel is now the tectonic element, the frame on the other hand the dynamic. 
The overthrow of gates is surmounted by a crest of the most florid character, and 
from it scrolls and tendrils radiate in all directions. 

A later development introduces a third dimension by means of the plastic 
treatment of the ornament, although the lineal element is never totally absent. 
This phase of smithcraft is at its best in the railings, grilles, and balustrades 
embellishing the great Late Baroque and Rococo French, English, and German 
sacred and profane architectural masterpieces. The same rule applies to wroughte 
iron, and to stucco, wood, and stone ornament; namely that the frame is an 
essential part of the whole, but at the same time aims at enhancing the plastic 
impression of the panels. However, we should remember that decorative smithing 
was inspired by graphic art in its widest sense. Ornament in smithcraft depended 
on the decorative designs invented by the draughtsman. In the Gothic period the 
smiths chiefly drew their inspiration from illuminated manuscripts. This is evident 
in the metal work on the western doors of Notre Dame in Paris which was 
copied from the illuminated margins and initials embellishing manuscripts dating 
from the period of St. Louis. The whole surface is covered with large and small 
tendrils, flower sprays, leafage, and rosettes, the effect of which is both harmonious 
and classically restrained; in fact the panels and frame-work are nearly inseparably 
merged. One is almost tempted to consider the restraint of the classical ornament, 
formed by the sequence of ever-recurring spirals, as a Romanesque motif. Indeed, 
there can be little doubt that the inception of such designs dates back to the 
Romanesque period. But we should not forget how deeply mature Gothic in 
France was imbued with the classic spirit. The masters of cathedral sculptures 
(for instance in Rheims) very often adhered closely to antique patterns of which 
the drapery, the well-shaped heads, as well as the whole bearing of the figures, 
are a strong proof. The sketchzbook of the French architect Villard d’Honnecoutt, 
dating from the 13th century, has preserved various examples which lead us to 
conclude that they are based on archaeological studies of classical statues. Probably 
similar drawings served as models for the masteresmiths when the Gothic was 
at its maturest period. But the majority doubtlessly took their models from 
illuminated manuscripts. 

Mediaeval illuminated manuscripts were succeeded by calligraphic ornament 
during the Late Gothic period. The richly coloured illuminations were replaced 
by the pen-drawing pure and simple with all its wealth of curves and flourishes. 
The iron craftsmen now forged their rods in imitation of these calligraphic designs. 

During the period of the Renaissance the calligraphic ornament attains to its 
zenith in Diirer’s highly imaginative marginal embellishment of the Emperor 
Maximilian’s prayerzbook. The spirit of Late Gothic still held its own by means 
of its vivid designs long after the introduction of the Renaissance ornament 


xX 


which seeks expression in monumental and tectonic simplicity, wide canvasses 
and gigantic statues. The figures by Peter Visher on the tomb of St. Sebaldus, 
Diirer’s Madonnas and Apostles, Hans Holbein the Younger’s portraits, and 
other examples are Gothic creations, and much of the wrought-iron work of 
this period is Gothic, and not Renaissance. The calligraphic style of iron ornament 
still retains the vitality and vividness of Late Gothic designs. As long as the 
round bar predominated, Late Gothic art obtained among the blacksmiths’ and 
locksmiths’ guilds. The railings (circa 1570) enclosing Maximilian’s tomb in the 
Hofkirche at Innsbruck are a product of the same spirit which inspired Diirer 
and his fellow-workers in designing the marginal ornament of that emperor's 
prayerzbook. During the course of the 17th century and of the whole of the 18th 
century France undoubtedly led in decorative smithwork throughout Europe. 
Patterns were widely spread by the works of ornamental engravers. Many of 
the best examples of wrought-iron work perished during the wars, the general 
troubles of the times, and during the Revolution; much of it was re-forged to 
make arms. But the engravings of the period show very clearly the development 
of designs, especially of those at the end of the 17th and beginning of the 
18th century. ! 

Here again the masterpieces of smithcraft were not designed by the craftsmen 
themselves, but by architects and draughtsmen. It is true that the master-smiths, 
especially the French ones, published patterns of decorative smithing, but these 
designs were rarely their own inventions, rather were they inspired by architects 
and engravers. Some of the pattern books were published in the first half of 
the 17th century, such as La fidéle ouverture de l’art de Serrurier by 
Mathurien Jousse (1627, in La Fléche). But the main impetus was given by the 
books written about 1700. The engravings of the two Frenchmen Daniel Marot 
and Jean Berain were of the greatest importance for the development of wroughtz 
iron work, as well as for many other branches of arts and crafts. The French 
call this style Régence. The German modification of the French designs of the 
period is described as ribbonzwork. This ribbon-work motif affords opportunities 
for the peculiar riot of lines characteristic of the German masters. It may be 
compared with Late Gothic patterns, and with the scrolls and grotesque motifs 
of Early Baroque before the Thirty Years’ War. Whereas the French attached 
great value to severe surface treatment and tectonic stability of ornamentation, 
the Germans again favoured a more lively surface treatment. The structural details 
of panel and frame are blurred by the exuberance of detail to such an extent 
that it is difficult to distinguish one from the other. In the same manner as 
the bar dominated and survived the Gothic period, so too did bandziron meet 
the requirements of decorative smithing in later times. 


* * * 


XI 


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Door from Durham, Beginning of 13th Century. — 2. Door from the Abbey Church,’ Radford, 
Sietiigh ects 13th Century. — 3. Door, Notre Dame, Orcival, near Clermont, 12th, Century. —. 
4. Door Hinge from St. Alban’s Abbey, 1160—90 (Victoria and Albert Museum). — 5. Hinge, Merton 
College, Oxford, End of 13th Century. — 6. Door of Hormead Church, near Buntingford. — 7. Door 
Ornament in Saff. ron Walden, Essex.—8. Knocker on the North Door of Puy Cathedral, 11th Century. 


Gothic 


Smithcraft attained to its highest forms in France during the 13th century. 
The craftsman felt it incumbent on him to produce decorative smithing worthy 
of the great works of architecture, especially of the Gothic cathedrals. French 
style in its characteristic traits, whether in the Middle Ages or during the epoch 
of Le Grand Style, always betrays a rationalistic tendency both in archi- 
tecture and arts and crafts. There seems to be a metaphysical idea hidden behind 
the vertical order of typical French cathedrals. Everything is carefully planned 
according to mathematical rules. Although the French, as northerners, had 
abandoned the tectonics of classical edifices, yet there is a certain similarity 
between the French cathedral and the Doric temple due to the harmonious 
arrangement of structural members, particularly in the interior. Indeed, we may 
venture to say that the Cathedral Gothic of northern France, where it origin- 
ated and held sway for so long, is imbued with a classic spirit. French Gothic 
did not originate so much from the play of an enthusiastic imagination as from 
a very clear esprit technique. It was this spirit that enabled Gustav Eiffel 
to build his gigantic iron tower in the Champ de Mars for the International 
Exhibition in 1889. 

Clarity and symmetry are the prevailing characteristics of the metalzwork 
on the doors of Notre Dame in Paris, in spite of the exuberance of the or-z 
namental spirals, leafage and tendrils. The main constructional wrought-iron 
bands, whose component parts are easily traced, are patterned very much along 
the lines of the composite pillar. From these composite parts the volutes spring, 
and form definite patterns above and below the bands extending over the 
panels, and in spite of their manifold curves are yet as restrained as the band 
ornament on antique vases with their spiral, ondoyant, and meander motifs. 
In spite of the wealth of rich ornament the total impression is distinctly that 
of unity and stability. Beautiful as the doors of Notre Dame Cathedral are, 
those wonderful specimens of smithcraft, the grille panels of Ourcamp Abbey, 
are still more beautiful (PI. 4). 

The lively and dynamic character of the Gothic ornament was developed 
in the latter part of the Middle Ages beyond the Rhine where more northern 
conceptions of art prevailed. They had once found expression in involved and 
fantastic grouping of animal motifs; a trait which is also met with in Irish 
illuminated manuscripts. The French tendency was to restrain that proneness 
towards the irregularity of motif inherent in northern art which is so absoz 
lutely opposed to the ordered character of classic art. Doubtlessly the Latin char 
acter of the French race was seeking expression in this tendency towards rez 
straint of form. The French had already verged towards the Latin cultural sphere. 


XIII 


We may say that the decorative ironwork of the French master-smiths rez 
produced in this volume is Romanic in character, and it is typical of French 
smiths that, although they employ old and lively motifs, they are yet able to 
produce the effect of restraint and order. They adhered to the oldest motifs, 
namely the metal spirals springing from bundled flat bars and terminating in 
rosettes and leafage, from which the scroll was evolved, and thus established the 
connection with the antique. In these ornaments, that part of the bar forming 
the curves is rounded, and then hammered at its ends into leaves and rosettes. 
The most varied manners of forging are employed, but are kept strictly within 
the limits prescribed by the requirements of style and material. The most beaus 
tiful manifestations of form thus developed from employing genuine material 
are skilfully fashioned and eminently adapted to their purpose. Herein lies the 
great difference between them and the methods employed by the materialistic and 
mechanicallyzminded 19th century. The sane mattercof-fact spirit of these master- 
craftsmen saved them from overstepping the limits set by the material, in contraz 
distinction to their inferior imitators who neither possess the vitality nor the 
genius of the old masters. 

When the French employed and enriched the old spiral ironwork patterns 
in the 13th and 14th centuries the effect was always one of restraint, even when 
they had not begun to imitate the antique by the employment of scrolls, leafage, 
grapes, and rosettes. This pronouncedly restrained treatment may be seen in 
_ some of the window-grilles in Rouen, in a northern French fender (Rouen 
Museum), or in the cathedral gate of Puy en Velai dating as far back as the 
end of the 12th century’. 

Beyond the spirals springing from the bundled flat bars and leafage scrolls, 
there are other variations such as Securves and those similar to the curve in a 
note of interrogation. These motifs, when enclosed in a frameework of square 
bars and connected to the frame by means of square links, are of a very charming 
appearance. The apertures are extremely narrow, and thus the purpose of enclosure 
and security is well served and emphasized. The continual repetition of ever-return- 
ing motifs betrays a decline in inventiveness, although the technical skill is as 
good as it ever was. Many of the gates, railings, and grilles with narrow 
apertures terminate in square rods with spearcheads which look like a row of 
armed men. 

Compared with French Gothic smithcraft of the 13th century, German iron 
work appears to be more primitive during the same and immediately following 
period. The work is coarser and more powerful, and the material is utilized to 
the limits of its technical possibilities. We may say that the difference between 


1 cf. C. Uhde, ,,Die Konstruktionen und die Kunstformen der Architektur“, Berlin, E. Wass 
muth, 1911, p.83 et seq. 


XIV 


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Mediaeval Railing Joints. 


French and German Gothic smithcraft resembles that existing between the graceful 
French cathedral statue and the massive figures in the German cathedrals; for 
instance those of the princes and knights in the choir of Naumburg Cathedral. 
The classic traits are wanting in German art, on the other hand it is extremely 
vigorous. French art is more urbane and refined, German more rustic. French 
smithcraft was highly developed at a period when that of Germany was in its 
initial stages. But some conspicuous works already indicate promise of a high 
development in the future. German artists were destined to develop the Gothic 
along original lines, both in architecture and all branches of arts and crafts, hence 
also in decorative smithing. 

The metal-work on doors, chests, etc., consisted chiefly of hoopziron. Wherez 
as in France bundled rods terminating in spirals and scroll motifs were already 
employed, German metal fittings still consisted of separate pieces rivetted to the 
wood: lattice and trellis patterns with ornamental flattened ends of a more geomez 
trical than florid design. The C-scroll was also much favoured in Germany. 
Beautiful examples may be seen on a door (beginning of the 14th century) in 
the transept of the Abbey Church of Maulbron. Still more beautiful examples 
(beginning of the 13th century) are on another door of the same church. On 
the latter the rivets are a special feature. The general character is determined by the 
composition of Czscrolls, and horizontal or crossed bands arranged thus (—) (+). 

In England this Czscroll is also often met with in connection with a horizontal 
bar, as for instance on the door of St. Margret’s, Leicester. The horizontal bar 
is rivetted over two Cescrolls in the following manner: @G-€ (13th century). 
In addition, small double C-scrolls placed back to back are also frequently employed. 

Door mountings attained to their greatest perfection on both sides of the Rhine 
during the Gothic period. The further development of decorative smithing was 
devoted to railings, gates, and grilles, etc., which call for other view-points and 
ideas. The railings are ornamented with motifs borrowed from architecture, espez 
cially from the tracery of the cathedral and church clustered and rose-windows. 
From now on the round is preferred to the flat bar, but the square is employed 
particularly for defensive purposes. The spirals, Sz and Cescrolls are replaced by 
the quatrefoil forged in square and round bars. Thus the favourite motif of the 
stone-mason is adopted by the blacksmith. The development of tracery-work 
brought about by the inventiveness of the stone-masons is copied by the decoraz 
tive smiths when ornamenting their gate and door panels. The flamboyant 
tracery which became popular during the Late Gothic period is also transferred 
to ironwork, and usually framed in a circle. The earlier severity is replaced by 
lively motifs. This rayonnant and flamboyant style, which is chiefly found 
in the 14th and the beginning of the 15th century in French cathedral rosez 
windows, is also transferred to ironswork. The motifs are often as delicate 


XVI 


as lace or fretesaw work. In many cases the ornament has been sawn or filed 
into the iron. The details often appear coarse and carelessly executed. The chief 
aim seems to have been to create a general impression, and this results in a hazy, 
restless composition. In such cases the bars are hardly distinguishable. Hence 
ironwork treated in this manner could not continue along the same line of 
development. Round or square bars placed horizontally or vertically, or com: 
bined to form a trellis, supplied the first patterns and form the base for all 
further modifications. 


XVII 


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Italian and French Railings, 13th and 14th Centuries 
1. Langeac Church, Chapel Railings, Upper Part, About 1400. — 2. St. Mark's, Venice (gilded), 
13th Century. — 3 and 4. Verona, Tombs of the Scaligers, 1300—1380 (Total Height About 2,6 metres. — 
5 and 6. Town Hall, Siena, 14th Century. — 7. French Tabernacle Railings (gilded), 14th Century. — 
8. French, 13th Century (?), in the Museum of Decorative Arts, Paris. — 9.From Brescia, 14th Century. 


ae 


Late Gothic and Renaissance 


The predominance of the linear pattern in decorative smithing among the 
transalpine peoples is particularly conspicuous when we regard the more plastic- 
ally conceived ironwork of the Italians. It is true that the influence of the 
purely Gothic conception lingered on in Italy till well into the 15th century 
(Quattrocento). The Italians were also appreciative of the Late Gothic linear 
pattern for which the employment of iron was so well adapted. But the Italians 
introduced the architectural element to a much greater extent than did the northern 
craftsmen. The southern architects had begun to develop a more perfect sense of 
proportion. And in doing so the great masters, such as Brunelleschi, Leonbattista 
Alberti, Bramante, and many others, harked back to classical architecture. 

A palace or the dome of a church over a central plan was always regarded 
by the Italians from a purely plastic point of view, and the beautiful proportions 
of Italian buildings still charm us tozday as do the Doric columns of a Greek 
temple. It is therefore by no means a matter of surprise that the Italians should 
treat ornamental details more plastically than the craftsmen of northern countries. 
The effect of the pondrous windowzgrilles in the ground-floors of the palaces 
is essentially plastic. They consist of crossed square interpenetrated bars of conz 
siderable dimensions, and are very picturesque in their massive strength. Hence 
the effect is not produced by the simple line itself, but by the bulkiness of the 
material employed. In the Gothic period, the chief stress then was laid on linear 
effects, whereas in the Italian Renaissance decorative smithing had become distinctly 
plastic, and this is still more the case with Baroque and Rococo ironwork. 

Besides the windowsgrilles, it was above all the finely smithed lamp-holders 
supporting a cradle and ring, torchzholders, and lanterns that provided considerable 
scope for plastic treatment of Italian ironwork. For instance the celebrated lanz 
terns on the Palazzo Guadagni in Florence look like small tabernacles, and are 
minute replicas of the great centrally-planned octagonal edifices. Indeed, as is 
well-known, the centrally-planned building was the most favoured during the 
Italian Renaissance, and the superstructure on the dome is actually called a 
lantern. The lamps on the Italian palace facades are not different in shape to 
the lanterns crowning the circular and octagonal centrallyzplanned buildings. 
Pillars and pilasters, all of minute dimensions, were also the main tectonic elez 
ments of these ornamental lanterns. Each of the eight openings are arcaded, 
and there is also a miniature balustrade of pillars with a richly ornamented rail 
on top, and small breaks at the corners. The whole is crowned by large spikes, 
of which the middle ones are straight and the corner ones curved outwards. 

In the case of torchzholders, doorzknockers, and other similar pieces of metal 
furniture, casting was often resorted to in order to secure the desired plastic 


XIX 


Details of German Renaissance Railings. 


eS ee ee ae eee 


effect. And there can be no doubt that the masterpieces of cast bronze and 
embossed work, as perfected by the sculptors of the quattrocento, such as 
Lorenzo Ghiberti, Donatello, and Verrocchio supplied the necessary and natural 
patterns for smithcraft. Verrocchio himself produced his finest work on the 
bronze screen in the Old Sacristy of San Lorenzo in Florence. This screen is 
made in imitation of coiled ropes, and the acanthus ornament on the sarcophagus 
(also by Verrocchio) near the screen may have served as a model for later 
smithcraft work. 

Many examples of ironwork show how the Italian blacksmiths aimed at 
highly plastic effects. The curves and spirals north of the Alps during the 15th 
and 16th centuries contrast greatly with this plastic Renaissance ironwork. And 
they can only be explained by the fact that the Gothic spirit with its preference 
for linear motifs still prevailed there. Whereas in Italy the architects and sculptors 
influenced decorative smithing, it was the graphic artists Martin Schongauer 
and Albrecht Diirer who exercised the main influence north of the Alps during 
this period. There is every indication that the handicrafts guilds were influenced 
almost too long by Albrecht Diirer’s spirit and Late Gothic examples. 

The peculiar alternating influence exercised by Late Gothic and Renaissance, 
which is so conspicuous in all Diirer’s works, may be traced more or less in 
German art during the 16th century. Maximilian’s tomb in the Hofkirche 
in Innsbruck is an example of the influence of two style epochs. Now the 
figures by Peter Vischer are Renaissance masterpieces, and hardly less plastic 
than Italian Renaissance sculptures, but the railings round the tomb, which were 
completed in 1570, are absolutely the product of the Late Gothic spirit obtaining 
in the north. This may readily be seen by the linear motifs. The curved motifs 
developed from the figure eight, formed by means of interpenetrated round 
bars which fill the panels of the railings, are reminiscent of calligraphic flourishes. 
But although Gothic vivacity still prevails, there is a suggestion of Renaissance 
restraint. The scroll motif with foliage, vine, and other leaves betrays supreme 
artistic skill. The railing with its round bars enriched by crocket ornament is 
a masterpiece of Gothic ironwork. Other prominent examples of Gothic ironz- 
work favour drawnsout spindlecshaped spirals tapering at the ends; they may 
be compared with the twists of a corkscrew, and were shaped on a wooden 
peg which was afterwards burnt out. This method was employed in producing 
various other patterns in wroughtsiron, especially in Spain, where bars were 
hammered onto a wooden background which was then burnt, leaving a trellis 
or lattice. This is again a proof of how closely mountings, trellis, and lattice- 
work are connected in their technical origins. The spindlezshaped spirals may 
be regarded as an attempt to treat the linear round bars plastically. But com- 
pared with Italian Renaissance wrought ironwork the attempt is but feeble. 


XXI 


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Spanish Wroughtiron Railings. Details. 
1 and 2. Cuenza Cathedral, arene of the Capilla major, Details of Lower Part. — 3, 4,5. Cuenza 


Cathedral, Part of the Railings be 
ars. — 7. Siguenza Cathedral, Chapel Railings (1530). 


| 
| 


ind the High Altar, by Sanchos Munez. — 6. Toledo Cathe- 
dral, Railings of the Holy Ghost Chapel, by Domingo Cespedes (1529); 6a. Profile of the Twisted 
B 


There are a great number of examples of the different modes of smithing iron. 
Space does not permit of giving details of all the great masterpieces. The illus- 
trations in this volume afford a sufficiently comprehensive survey. The main 
object of this introduction is to but touch on a few style problems. 

We should remember that it was not Germany alone which laid the chief 
stress on linear and surface effects of wrought-iron ornament. Nearly all other 
European countries have produced masterpieces of this type. And even Italy, 
in spite of her many examples of purely plastic ornamental smithcraft, also 
turned out excellent work of a linear character made of round bars, or, a 
peculiar Italian pattern, of flat ones with the thin edge turned outward. But 
Italian ironworkers favour different decorative motifs, and as a rule dislike 
the peculiar calligraphic flourishes of the northern countries. The S-curve takes 
the place of the spiral. When the S-scroll motifs are employed in Germany 
they are so closely grouped that the effect is almost netzlike (e.g. the railings 
of Ambras Castle). And we may remark here that the impression created 
by Italian line ornament has none of the restlessness so characteristic of the 
northern Late Gothic with its horror vacui, which led to the filling up of 
every available space and gap. The wide spacing of Italian ornament is an 
important factor in the clearness and restraint of the pattern. And although 
Italian linear railings, for instance, are not conceived as integral architectural parts 
of the edifices they embellish, nevertheless the general impression is thoroughly 
static and tectonic. And this is in accordance with the artistic intentions of 
southern Renaissance ideals. 

The Spaniard, like the German, also favoured a close grouping of his ornaz 
ment. And, indeed, we may say that Spanish and German art approach very 
near in spirit, especially during the Late Gothic and Late Baroque periods. With 
Spanish art, of course, the tradition of the East is still very noticeable. And 
we should remember that the filling of every available space was a peculiar 
Oriental trait. There is something reminiscent of the Oriental carpet and rug 
patterns in these closelyzpacked Spanish examples of ornamental iron smithing. 
Whereas Italian wrought ironwork is classic in its simplicity, the effect of 
Spanish smithing is almost impressionistic by reason of the hazy effect produced 
by the peculiar grouping and crowding of the motifs. Eminent examples of the 
peculiar Spanish treatment of metalwork are the screens in the churches that 
surround the long narrow choirs. They project into the crossing and nave and 
separate the clergy from the congregation. 

Of course it is but natural that Italian art has its tapzroots in classic traditions, 
and always returns to them: whereas Spanish art is strongly influenced, as 
we have seen, by Oriental examples due to historical events, and northern art 
perpetually betrays that peculiar restlessness which after all is the outcome of 


XXIII 


a certain element of romanticism. Hence Spain on the one hand, and the couns 
tries north of the Alps on the other had to overcome their inherent conceptions 
of art before they succumbed to the alleabsorbing influence of the classic spirit 
to which their traditions were opposed. But, nevertheless, as far as smithcraft is 
concerned, Italy did not remain the leader of classic art. The ars nova did not 
pass straight from Italy to Germany and the northern countries, but found its way 
there from France who soon assumed the leadership in smithcraft and continued 
to develop classic traditions into which she, however, projected a completely 
new spirit by turning her main attention to the architectural effect of castle 
gates with their imposing piers. 

The French smith put his best work into the development of the grille 
d’honneutr. The classic models imported from Italy still form the base of the 
ornament, but undergo modifications making for a peculiar refinement of patterns 
and motifs which were later imitated by the Germans. But there as well as in 
France the centres of art were the courts, and the spirit of these absolutistic courts 
of the Baroque period was naturally reflected in the smithcraft which they did so 
much to perfect by their patronage. It is a moot question whether the Baroque 
or the classic tradition is the most pronounced in the grille d’honneur. 


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Railing from Florence, 15th Century. 
XXIV 


Ainjzuay YIOT ‘SsUI[IeY YoUIIg pue ueiyezy 


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Baroque and Classicism 


France introduces a new tectonic principle into her main gates, namely a 
vertical order with uninterrupted rows of mighty square bars. The whole surface 
is divided vertically. Though there is a certain amount of ornament between 
the verticals, the ornament is gradually concentrated on the overthrow in order 
not to mar the general impression of verticality. But the base of the overthrow 
is usually curved. The severity of the vertical lines in the gates-proper, comz 
bined with the lively ornamental work on the piers and overthrow, make for 
a very decorative whole. Altogether the architectural element predominates, 
and the ornamental details are only of secondary importance, thus following 
the law of architecture according to which embellishment must always be sub- 
ordinated to tectonic requirements. Where the Baroque style is fully expressed 
in ironwork the effect of railings and gates as enclosures of the more important 
edifices is such that the impression of seclusion is very pronounced. The gates 
are mostly placed in such a manner as to afford charming perspectives of the 
enclosed edifice. Owing to the semicircular overthrow the impression is created 
that the gates constitute an outwardly projecting bay that seems almost to encircle 
the castle or mansion to which it gives entrance. Herein lies one of the supreme 
accomplishments of Baroque art. 

The scroll and leafage ornaments are partly conventionalized, partly realistic: 
ally treated. The ribbon-work motif is also favoured. — An example of Early 
Baroque may be seen on Plate 126. Its effect is somewhat primitive. The 
leading motif is presented by the square bars set rather far apart. Curved bands 
supply the place of horizontal bars in the middle and above. The intervening 
space is filled with vine-leaves and tendrils, these latter are an echo of the 
spindle ornament. Nevertheless, the general impression is one of sketchiness, 
although there is no blurring of the tectonic and decorative elements. The more 
important examples are richer in decorative motifs, and the linear element is 
replaced by the plastic, and this plastic feature is continually added to in the 
course of time. A noteworthy example of perfect workmanship should be menz 
tioned here, namely the grille d’honneur from the Chateau Maison Lafitte 
now in the Louvre. The gates are good representative examples of the grand 
style of the 17th century. The French railings and gates assume huge proportions, 
especially those surrounding the great cours d’honneur of the castles and 
hétels which they serve both to protect and embellish. It is well to remark 
that the railings and gates were interpreted as belonging architecturally to the 
facade, at least they harmonized to an extraordinary degree with the buildings. 
The artistic problem which had to be solved was, that in spite of the space 
between the edifice and the surrounding railings and gates, the effect of unity 


XXVI 


had to be produced, and was produced. Square bars with lancezheads and tassels 
were much favoured, and were the main features of the gates. Sometimes the 
overthrow consisted of a richly moulded cornice with a pyramid of highly orna- 
mental scroll-work surmounted by the royal arms and crown, or other heraldic 
emblems, supported by pronouncedly plastic and florid foliage ornament. However 
luxuriant these overthrows may be, they do not, as might be supposed, reduce 
the static effect of the vertical plan. 

No doubt the stately gates and railings at Versailles served as an example 
for much of the decorative smithing at this period, just as the castles built by 
Jules Hardouin Mansard, and the gardens laid out by André Le Notre were 
patterns for architects and landscape gardeners throughout Europe. The influence 
of Versailles is particularly noticeable in England, where French masters were 
employed by the court and aristocracy, and created such masterpieces as Jean 
Tijon’s magnificent screen of wrought-iron at Hampton court, perhaps the finest 
piece of decorative smithing in the world. 

Ironwork in France during the period of Louis XIV. was still very much 
influenced by the traditions of the Renaissance as is quite evident by its severe 
restraint. During the Régence, however, this trait gave way to an exuberance 
of motifs which was increased still more during the Rococo period, i. e. the 
time covering the reign of Louis XV. The greatest masterpieces of this style 
epoch are the celebrated gates and railings enclosing the Place Stanislas in Nancy. 
They were made by Jean Lamours, the court smith of King Stanislas Lescynski. 
The main trait of the preceding period, namely the stressing of the tectonic 
character of ironwork, especially of railings and gates, is still markedly evident 
in Lamours’ work. Wherever architectural requirements call for pillars or other 
supports, the bars are either closely grouped or bundled. A similar arrangement 
is met with in the trellised gardenzhouses of the period. These too are essentially 
architectural features in the grounds, and are in perfect harmony with the 
surroundings; both buildings and landscape. 

The iron gates and railings in the Place Stanislas in Nancy accord so beautiz 
fully with their setting that it would be difficult to find their equal anywhere. 
The railings are purely tectonic, the frame and overthrows mainly serve ornaz 
mental requirements, but the whole is arranged so skilfully that the railings 
and gates seem to be an integral part of the surrounding edifices, and this is 
especially emphasized where there are gaps between the houses, in which case 
the railings appear to connect them, and thus make the gaps part of the 
rhythm of the whole. At this point we may remark that town-planning does 
not merely mean planting houses at given intervals, and on particular spots, 
but it means the creation of an artistic ensemble. In Nancy the iron craftsman 
has contributed to this requirement by the beauty and utility of his work. The 


XXVII 


modern townzplanner would do well to remember how much may be done by 
such work as distinguishes the Place Stanislas. 

The object of the railings and gates surrounding the Place Stanislas is of 
course to enclose, but as they do not form a wall, there is no obstruction of 
the view, and light and air are not excluded. This, of course, accords with the 
general tendency of the Rococo period, namely to provide large windows flush 
with the walls, and thus flood the buildings with light. Decorative plastic figures 
are placed in the portal-like gates. The square itself is embellished with fountains 
with bombé basins. The railings follow the outline of the square, but are rounded 
at the corners. The ornamental details surmounting the railings are replete with 
rocaille patterns which are so beautifully formed that they are in no way inferior 
to the stuccos and wood:carvings of the Rococo period. Nevertheless, the general 
impression is perfectly harmonious, in spite of the multitude of details. Similar 
railings, but with somewhat lighter overthrows, were also smithed in Germany; 
for instance in Wurzburg. 

Gradually the exuberance of the rocaille ornament was toned down. The 
vertical line began to dominate again, and a more classic spirit becomes evident. 
This phase of Late Baroque is usually called Louis XVI, of which wonderful 
examples exist in the grilles d’honneur in front of the large courtyards of 
the great monumental French edifices. The tectonic element again comes to the 
fore. The ornament, instead of being curved, is angular. The spiral is replaced 
by the meander. The frame and piers are now only embellished with plain 
circles similar to those in the heavy gates of the Chateau Maison Lafitte. The 
grand style and the style of Louis XVI. are akin in form. With the latter the 
piers consist of huge square rods. Heavily moulded cornices surmount the gates. 
The railings terminate in lancesheads, with or without tassels. There is something 
distinctly reserved in the character of these railings which is enhanced by the 
emphatic manner in which they cut off the grounds and edifices they surround 
from the rest of the world. Good examples are those outside the Palace of — 
Justice and the Military School in Paris. 

German examples of ironwork comparable with the railings surrounding the 
Place Stanislas may be seen in the gates and railings in front of the castle in 
Wirzburg. The railings are not carried along a straight line, but are curved. 
Intervening stone piers and sentry-boxes capped by obelisks afford the necessary 
supports. The verticality of the bars is blurred by a wealth of ornament and 
embellishment, above all the overthrows abound in rocaille motifs. Sometimes 
the bars are placed in such a manner as to improve the perspective, for instance in 
the panels of the railings at Weingarten Monastery, as well as at Zwiefalten, 
and in the shrine of Maria Einsiedeln in Switzerland. The centralepiece of © 
the choirsscreen at Zwiefalten is constructed in such a manner that the Virgin 


XXVIII 


and Jesus, who are completely surrounded by a golden halo, seem to be set 
in the niche of an altar. Hence it will be seen that smithcraft was able to 
produce the illusion of perspective on a flat surface in accordance with the style 
requirements of the period. During the Louis XVI. period the Germans imitated 
French models. Finally, wroughtiron was replaced by inferior castsiron work. 
In the age of machinery ornamental smithcraft fell gradually into disuse, and it 
has not yet been revived to any appreciable extent. 


XXIX 


The illustrations are reproduced from photographs of the following publishing firms: 


Alinari, Florence 
Plates 22, 23, 24, 31, 43, 63, 64, 65, 67, 68, 69, 86, 87, 92, 93, 97, 98, 99. 
Brogi, Florence 
Plates 21. 
Giraudon, A., Paris 
Plates 7, 18, 126, 137, 185, 216, 312. 
Laurent y Cia, Madrid 
Plates 2, 3, 74, 75, 76, 77, 78, 79, 80, 81, 82, 83, 84, 85. 
Moscione, Rome 
Plates 96, 180. 
Miller, Christof, Niirnberg 
Plates 44, 47, 102, 108, 116, 131. 
Austrian State Photographic Department, Vienna I 
Plates 27, 28, 29, 34, 54, 57, 107, 152, 153, 156, 157, 158, 159, 175, 220, 221, 222, 223, 224, 225, 
231, 232, 233, 234, 235, 236, 237, 244, 245, 246, 254, 279, 280, 281, 285, 286, 304, 311, 316. 
Poppi, Bologne 
Plates 306. 
Reusch, August, Munich 
Plates 36, 38, 39, 40, 41, 48, 53, 111, 150, 154, 174, 252, 253, 255, 283, 304. 
From: H.R.d’Allemagne, Ferronnerie anciennne, Paris 1924 
Plates 5, 6, 31, 95, 190. 
From: Contet, F., Documents de Ferronnerie ancienne, Paris 1922 
Plates 1. 


The publishers wish to express their gratitude to the Director of the Victoria and Albert 
Museum for kind permission to reproduce several illustrations. 


Meer tino ae tS iol ahs © 


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Spain, 13th Century 


France, 13th Century — Grille Panels fiom Oirscamp Abbey. © 
Musée Le Secq des Tournelles, Rouen 


France, 13th Century — Detail of Grille Panel from Ourscamp Abbey 


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2) Saint Gilles Cathedral 


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France, 13th Century — Door Mountings: 1) from Notre Dame 


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France, 13th Century — Door Mounting on the West Front of the Paris Cathedral 


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England, 13th Century —Screen from Chichester Cathedral. Victoria and Albert Museum 


England, Late 14th or Early 15th Century — Lower Part of a Pair of Gates. 
Victoria and Albert Museum, London 


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18 


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France and Flanders, 15th Century — Gothic Screens 


Florence 


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Italy, 


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Italy —Above: Screen, About 1400, Santa Trinita, Florence; 


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Germany 15th Century — Gratings. Hamburg Museum for Arts and Crafts 


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Austria, 15th Century — Door of the Tabernacle in the Spitalkirche, Krems 


Austria, 15th Century — Door of the Tabernacle in the Spitalkirche, Krems 


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Netherlands, 15th Century — Grill. London, Victoria and Albert Museum 


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Austria, 15th Century — 


Hungary, 15th Century — Church Door at Lapis-Patak 


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South Germany, 15th Century — Door Mounting 


France, 15th Century — Locks 


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France, 15th Century — Locks. Cluny Museum, Paris 


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Germany, 15th Century — Door-Knockers 


Germany, 15th Century — Door Handle and Door-Knockers 


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South Germany, 16th Century — Door with Iron Mounting 


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Germany, 16th Century — Door with Iron Mounting, 


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35 


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Germany, 15th Century — Chandelier. National Museum, Munich 


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61 


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Germany, Late 15th Century — Bracket Candle Sconce. Kunstgewerbe Museum, Cologne 


62 


Germany, Early 16th Century — Candelabrum. Cologne, St. John’s Church 


Italy, 15th Century — Firedogs of Wrought Iron 


63 


64 


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Spain, 16th Century — Chimney Screen. Louvre, Paris 


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Italy, 15th and 16th Centuries — Door-Knockers. Schloss-Museum, Berlin 


Italy, 15th and 16th Centuries — Door-Knockers. Schloss-Museum, Berlin 


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Pair of Gates. Palazzo Bevilaqua, Bologna 


Italy, About 1500 


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Italy, About 1500—Balcony Balustrade. Palazzo Bevilaqua, Bologna 


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Barcelona 


Spain, 15th Century — Screen. The Cathedral, 


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Spain, About 1530—Screen. Capilla Mayor, Seville 


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Spain, 16th Century — Church Screen. Jerez de la Fontera 


79 


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Screen of the Royal Chapel in the Cathedral, Granada 


16th Century 


Spain 


80 


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‘Spain, 16th Century — Window Grille. Salamanca 


81 


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Spain, 16th Century — Window-Grille. Salamanca 


Spain, 16th Century — Window-Grille. Seville 


83 


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84 


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loth Century — Chapel Screen in the Cathedral 


Spain, 


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Spain, 16th Century —Screen. The University, Salamanca 


86 


Italy, end of the 15th Century — Window-Grille in the Scuola di S. Giorgio, Venice 


Italy, 15th Century — Window-grating, Venice 


88 


Italy, 16th Century — Door-Knockers. Schloss-Museum, Berlin 


1n 


Italy, 16th Century — Schloss-Museum, Berli 


eRicht 


1S 


France, 16th Century —Cluny Museum, Par 


Door-Knockers. Left 


89 


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91 


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16th Century 


France, 


92 


France, 16th Century— Keys. Florence, Museo Nazionale 


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France, 16th Century — Door Furniture 


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Italy, 16th Century —Sections of Ornamental Railings. Schloss-Museum, Berlin 


95 


Italy, 16th Century — Window-Grille. Musée Le Secq des Tournelles, Rouen 


96 


s Church 


16th Century — Gates. Rome, St. Mark’ 


Italy, 


Italy, 16th Century —Fanlight Grilles. Lucca 


98 


North Italy, 16th Century — Doorway Grille 


99 


16th Century — Gate. Trieste Cathedral 


North Italy, 


100 


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106 


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Ambras Castle 


Grille with Door 


Austria, About 1570 — 


107 


head Grille. Grafenegg Castle 


—Well 


Austria, About 1570 


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Germany, End of the 16th Century — Screen. Nurem 


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Germany, About 1580 — Screen. Ulrichskirche, Augsburg 


110 


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Germany, About 1580—Screen. Ulrichskirche, Augsburg 


South Germany, End of the 16th Century — Church Screen 


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112 


Pressburg 


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Door with Iron Mounti 


, 16th Century 


Austrian Work 


Grille with Door. Augsburg 


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16th’ to 17th Céenturie 


Germany, 


114 


-Light Grating and Window-Grille. Freiberg (Saxony) 


Sky 


Germany, Late 16th Century 


Ls 


Germany, End of the 16th Century — Window-Grille from Zittau (Saxony) 


116 


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Germany, 16th Century — Door with Iron Mounting. 
Nuremberg, Germanic Museums san 


Door Panels— Above: Germany, Middle of the 16th Century. 
Below: Austria, 16th to 17th Centuries 


118 


Germany, 16th to 17th Centuries — Door-Knockers. Schloss-Museum, Berlin 


119 


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120 


16th Century — Door-Knockers. Schloss-Museum, Berlin 


Germany, 


121 


Berlin 


Schloss-Museum, 


Knockers. 


16th Century — Door 


Germany, 


122 


In 


Museum, Berl 


Door-Knockers. Schloss- 


16th Century 


Germany, 


Germany, 16th to 


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17th Centuries — Door-Knockers. Schloss-Museum, Berlin 


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Germany, About 1677 —Screen. Church of St. Peter, Goerlitz 


126 


ateau de Blois 


Gate, Ch 


France, 16th Century 


127 


Brackets—1) Bruges, Early 16th Century. 2) Germany, 16th Century 


Germany, Late 16th and Early 17th Centuries — Grille Cappings and Panels 


129 


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Germany, Late 16th Century 


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France, End of the 16th Century —Grille. Musée Carnavalet, Paris 


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Germany, Second Half of the 17th Century —Grille. Dresden 


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France, 17th Century —Grille. Cluny Museum, Paris 


138 


Grille. Fredericksborg Castle 


17th Century — Window 


Early 


, 


Denmark 


Cathedral, Roskilde 


The 


Detail Chapel, Grille. 


Denmark, Early 17th Century 


141 


Grille. Oxholme, Jutland 


, 17th Century — 


Denmark 


142 


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145 


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Germany, About 1668 


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145 


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South Germany, Middle of the 17th Century — Window-Grilles 


151 


Late 17th Century — Fan-Light Grille and Panel 


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Germany, 1700—Grating. Liibeck, St. Mary’s Church 


155 


156 


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Prague, Middle of the 17th Century —Scre 


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Prague, Second Half of the 17th Century —Grille Panels. Collegium Clementinum 


158 


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Prague, Second Half of the 17th Century — Gates. Collegium Clementinum 


159 


Prague, Second Half of the 17th Century — Gates. Collegium Clementinum 


160 


Germany, End of the 17th Century — Fan-Light Grille from Vienna, and 
Window-Grille from Goerlitz 


161 


North Italy, 17th Century — Portions of Grilles 


162 


Germany, Second Half of the 17th Century — Doors. The Cathedral, Schleswig 


Germany, Second Half of the 17th Century — Door. The Cathedral, Schleswig 


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164 


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Germany, About 1698 — Grille with Doors. Ulrichskirche, Augsburg 


166 


Denmark, About 1700—Centre Panel of the Chapel Screen in the Cathedral, Réskilde 


Denmark, About 1700— Chapel Screen in the Cathedral, Roskilde 


168 


Germany, About 1700—Grille. Gewerbe Museum, Nuremberg 


169 


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South Germany, Early 18th Century — Railing. Ratisbon, 


170 


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Germany, Second Half of the 17th Century—Portions of Grilles. Nuremberg,GermanicMuseum 


171 


Fan-Light Grilles 


Germany, Early 18th Century 


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Germany, Early 18th Century — Grille, from Cologne. Victoria and Albert Museum, London 


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South Germany, About 1726—Part of a Screen Gate in the Old Chapel, Regensburg 


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Italy, 17th Century — Above: Fan-Light Grille. Schloss-Museum, Berlin. 
Below: Grille Panel. Victoria and Albert Museum, London 


Italy, 17th Century —Window-Grilles. Above: Schloss-Museum, Berlin. 
Below: Museum of Arts and Crafts, Hamburg 


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179 


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Italy, 17th Century — Screen with Gates. Victoria and Albert Museum, London 


180 


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Italy, 17th Century — 


181 


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France, 17th Century — Screen with Gates. Musée Carnavalet, Paris 


182 


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France, About 1661 — Screen. Hétel de Ville, Aix-le-Provence 


183 


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184 


Couvent de la Visitation 


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, Late 17th Century — Grating. Lyons 


France 


185 


, 17th Century — Grille with Gates. Aix 


France 


186 


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187 


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France, About 1680—Forecourt Screen with Gates. Versailles 


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188 


France, About 1680— Forecourt Screen with Gates (Detail). Versailles 


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189 


France, 17th Century — Balustrade. Hotel Dreherelen Paris 


190 


elles, Rouen 


n-Light Grille. Schloss-Museum, Berlin 


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End of the 17th C 
Below: Window-Grille. Musée 


France, End of the t entu 


191 


France, 17th Century — Window-Grille. Cluny Museum, Paris 


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France, Early 18th Century — Banister, Dijon 


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Dijon. 2) Balustrade, 


London 


Victoria and Albert Museum 


Early 18th Century — 1) Balustrade 


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France 


194 


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England, About 1700—Screen from Hampton Court. Victoria and Albert Museum, London 


199 


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200 


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England, Early 18th Century — Railings. Victoria a 


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202 


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203 


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England, 18th Century — Part of Railings. Victoria and Albert Museum, London 


206 


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Austria, Early 18th Century — Screen. Chapter of St. Florian 


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208 


Italy, Early 18th Century — Fanlight Grille and Gate 


209 


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Italy, Early 18th Century—Gatesand GrillePanel. Victoria 


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France, 18th Century — Section of Banister. Aix-en-Provence 


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215 


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Alsatia, First half of the 18th Century — Sign-Boards 


216 


France, Early 18th Century — Brackets 


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South Germany, Early 18th Century —1) Ornamental Top of Counter. 2) Part of Railings 


218 


German y, About 1700— Portions of a Grille from Augsburg 


219 


Prague, Early 18th Century — Railings in the Cathedral 


220 


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Austria, Early 18th Century — Window Screen, Steyr 


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Austria, Early 18th Century — Gates. Cathedral, Gratz 


225 


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Germany, Early 18th Century — Screen. Cathedral, Constance 


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232 


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Austria, Early 18th Century —Grille Panel. Collegiate Church, Diirnstein 


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Austria, Early 18th Century — Screen. Minster, Dtirnstein 


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252 


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236 


Austria, About 1720— Gates. Belvedere Palace, Vienna 


237 


Gates. Belvedere Palace, Vienna 


Austria, About 1720— 


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Tirol, About 1744—Grille. Deutschordenshaus, Bozen 


241 


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Germany, Early 18th Century — Section of Gates 


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Germany, 18th Century — Chapel Screen. Hirschberg 


bho 
WA 


244 


Church 


’ 


Thomas 


Early 18th Century.— Door. with Iron Mounting. St- 


Prague 


et Sa NS te 


1) Vienna, About 1744—Section of Screen. St.John’s Chapel. 2) Ziirich, About 1726—Sky-Light Grating 


46 


Prague, Early 18th Century — Door-Handle and Knocker. Clam-Gallas Palace 


247 


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Germany, Early 18th Century —Knocker. Germanic Museum, Nuremberg 


South Germany, First Half of the 18th Century — Mountings of Wrought Iron 


251 


252 


Germany, About 1724— Ornaments in Wrought Iron 


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South Germany, Middle of the 18th Century — Upper Part of Grave Cross 


254 


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Austria, About 1720 —Window-Screen. Vienna 


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—1) Sky-Light Grating. 2) Fire-Guard 


Early 18th Century 


South Germany, 


256 


AUC. 


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Prague, Middle of the 18th Century. Gates 


South Germany, Middle of the 18th Century —Sky-Light Gratings 


258 


Germany, Early 18th Century — Brackets 


259 


South Germany, Middle of the 18th Century —Sign-Brackets 


260 


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Switzerland, Early 18th Century — Gates. Bale 


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Switzerland, 18th Century — Railings. Bale 


262 


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France, Early 18th Century — Palace Gates. Dampierre (Aube) 


265 


France, First Half of the 18th Century — Gates. Bagatelle Palace 


264 


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18th Century — Gates. Cathedral, Lyons 


France 


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France, 18th Century — Sky-Light Gratings. Lyons 


265 


266 


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France, About 1730—Gates. Archbishop’s Palace, Sens 


267 


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France, Middle of the 18th Century — Cathedral 


268 


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France, Middle of the 18th Century — Gateway. Stanislas Square, Nancy 


France, Middle of the 18th Century — Gateway. Stanislas Square by Jean Lamour, Nancy 


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France, Middle of the 18th Century — Part of Gateway. Stanislas Square, Nancy 


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France, Middle of the 18th Century — Part of Railings on the Stanislas Square in Nancy 


271 


272 


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France, Middle of the 18th Century — Balustrade. Lyons 


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Lyons and Ziirich, Middle of the 18th Century — Balustrade 


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Germany, About 1743 — Balustrade Panels. Brithl Castle (Rhine) 


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About 1743—Lantern and Ban 


Germany, 


278 


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Vienna, First Half of the 18th Century —Screen. Church of the Dominicans 


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Austria, First Half of the 18th Century —Screen. Church of the Franciscans, Salzburg 


Austria, First Half of the 18th Century — Gates. Church of the Franciscans, Salzburg 


Hungary, Middle of the 18th Century — Details of Wrought Iron Work 


. Pressburg 


Germany, About 1725 — Details of Wrought Iron Work. National Museum, Munich 


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284 


Hungary, Middle of the 18th Century — Folding-Door, Wrought Iron 


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Middle of the 18th Century — Gates. Reichenberg Chapter 


stria, 


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286 


Austria, First Half of the 18th Century — Gates. Church of St. Peter, Salzburg 


Germany, Middle of the 18th Century — Garden Gates. Nuremberg 


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288 


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289 


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290 


of Ornamental Railings. Wiirzburg Castle 


Germany, About 1750 — Section 


291 


Germany, About 1750 — Section of Ornamental Railings. Wiirzburg Castle 


292 


Gates. Wiirzburg Castle 


Germany, About 1750 — 


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Gates. Wiirzburg Castle 


Germany, About 1750 — 


294 


Heves 


Middle of 18th Century — Gates. 


Hungary, 


Germany, Middle of 18th Century — Gates. Roggenburg Church 


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South Germany, Middle of 18th Century — Gates 


298 


AS, 


Middle of 18th Century — Gates. Ziirich 


Switzerland, 


299 


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Switzerland, 18th Century — Gates. B4le, Rittergasse 


300 


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301 


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Switzerland, Middle of 18th Century — Choir-Railings. St. Gallen Minster 


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South-Germany, About 1760 — Screen. Ober-Marchtal Church 


305 


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Germany, 1720-1750 — Bracket, Ornamental Top of Railings and Grave-Cross 


South Germany 


and Switzerland, First Half of the 18th Century —Sky-Light Gratings 


306 


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Italy, Early 18th Century — Part of Church-Barrier. Bologna 


WA 


France, 2nd Half of 18th Century — Part of Church-Barrier. Paris, St. Germain l’Auxerrois 


<i) 


308 


France, 2nd Half of 18th Century — Banister. Versailles, Grand Trianon 


309 


France, 2nd Half of 18th Century — Banister. Compiégne Castle 


310 


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France, 2nd Half of 18th Century — Banister. Paris Admiralty 


1) Austria, Fanlight Grille. 2) France, Banister. Dijon—2nd Half of 18th 


Century 


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France, 2nd Half of 18th Century — Gates. Paris, Ecole Militaire 


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Gates. Paris, Palais de Justice 


France, 2nd Half of 18th Century — 


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Germany, 2nd Half of 18th Century — Railings. Veitshéchheim Castle 


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apse WIIYYydoYs}I9A ‘ssulpley jo doy jryuawmeUIO — Ainj}uar YI8T JO J[PH Purz ‘Auewsay 


316 


1) Austria, Window Grill. 2) England, Part of Railing —2nd Half of 18th Century 


CA 
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Austria and South Germany, 2nd Half of 18th Century — Window-Grill 


a | 


318 


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UOIT-JYSnNoay ‘suiajzuey] — Ainjyuay UIST JO JIPH PUZ ‘Auewsay 


320 


Germany, 2nd Half of 18th Century — 1) and 3) Fanlight Grills. 2) Ornamental Top of Counter 


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